The minimalist concrete poetry site at:
http://www.logolalia.com/minimalistconcretepoetry/
has been updated with 13 pieces by Marko Niemi.
Though we might quibble over semantics, I think we can all agree that it is desirable to live in a world where more poems have the ability to move.
Come, see, enjoy, live, love, learn.
Regards,
Dan
Visar inlägg med etikett dan waber. Visa alla inlägg
Visar inlägg med etikett dan waber. Visa alla inlägg
fredag, juli 06, 2007
not much of anything
From Dan Waber:
söndag, juni 10, 2007
digital poems
by Dan Waber, translated into Finnish @ nokturno (a selection of Cantoos, a as in dog, Hs for bpNichol).
torsdag, maj 31, 2007
something small, with Hs
From Dan Waber:
The first time I read that bpNichol had a favorite letter of the alphabet I was sufficiently steeped in his work that I wasn't really surprised, but, it did strike me. I ran quickly through the alphabet in my head and tried to decide if I had one. I didn't, but, I couldn't rule out the possibility that I could have a favorite.
The idea of a favorite letter struck me more than the fact of the specific letter--though there is much to be said for H as a favorite (his own stated reasons included some very strong and early connections).
Over time, in no planned or constant fashion, I've taken advantage of a few opportunities to connect back with H, some more notable than others. One example (from many):
On a trip to New York City we found ourselves in a street fair, one of the vendors was selling baseball caps. Off to the side, tucked back in a corner, away from the official teams was a series of caps that just had individual letters of the alphabet on them, and H was right at my eye level as we walked by. How could I pass that up? So I bought the hat, and would wear it from time to time. Sometimes people would ask
me "What does the H stand for?" And I'd reply variously with Hello, Hi, Howyadoin, Heythere, Happy, Hotdamn, or Hoodoggy. More often than not, this became a conversation starter and I'd get the chance to tell the real story and end up in a talk about bpNichol and his work and how it affected me and my work.
I've been camera-in-hand for a couple of months now because of an unrelated project, and I've taken advantage of that by hunting for Hs in the wild, and taking pictures of them.
So I had this accumulated group of Hs, and even without any intentional plans to continue adding to the group (which I do have), it became clear that it was time to give these Hs a proper home. I'd put some up on flickr.com for a while, but have lately become disenchanted with them as a service, ever since they were bought out by Yahoo! and made some changes to the way they operate that rub me the wrong way.
After a frustrating day of hunting for a canned solution that met all or most of my needs, I decided it was time to call in the experts. I contacted Marko Niemi, described to him what I wanted (a grid in the shape of an H that would randomly cycle through all of the images in a directory on a webserver that I could just upload images into), and asked him if that was something simple or difficult--it's a minor and obscure project, and I didn't want to waste his time on it if it was one of those things that's really easy to describe and really difficult to implement. Within hours with only a couple of back and forths, it was completely finished.
Reason #378 why I love collaborating with Marko Niemi: only AFTER everything was completely finished and ready to launch did Marko ask me, "Btw, is there a particular reason for the obsession with the letter H?" Create first, ask questions later.
I am pleased to offer for your ongoing use, "Hs for bpNichol", a piece that will continue to grow and shift and change as Hs drift in, through, and out of my life.
http://www.logolalia.com/H/
Enjoy,
Dan
tisdag, maj 29, 2007
torsdag, maj 24, 2007
a as in dog
From Dan Waber:
Ever have one of those ideas that takes years and years to finally come to full fruition? You wrote it down, and then waited for the timing, circumstances, and/or right collaborator to come along. And you were patient that whole time, eager but patient, never forgetting the idea. Me too!
Have you ever seen Bembo's Zoo? (http://www.bemboszoo.com/) if you haven't--you really should, regardless of whether you want to go any further into this announcement, that's a work well worth your time. And it's the perfect set-up to the rest; though, if you're Flash challenged, it's definitely not required.
So ends the preamble. Now, on to the meat of the announcement.
After years of waiting for the perfect collaborator to come along, I am filled to overflowing with joy to announce:
a as in dog, by Dan Waber & Marko Niemi
a as in dog, by Marko Niemi & Dan Waber
part hommage, part parody, all ultra-minimalist all the time (or, anything they can do minimal, we can do less)
http://www.logolalia.com/a-as-in-dog/
a full introduction is here:
http://www.logolalia.com/a-as-in-dog/intro.html
Short version for anyone who hasn't already clicked through: a lady was spelling her name to me over a bad phone connection and she accidentally said, "a as in dog" instead of "a as in apple" or "a as in alpha". It made me laugh, it made her laugh, and it got me thinking. First I figured out a way to make an "a" look like a dog. Then, I figured out how to make every other letter of the alphabet into an animal whose name didn't start with that letter (without repeating start-of-name letters). I lacked the deft touch necessary to bring these ideas to life until I connected with Marko Niemi. He built them all better than I ever could have by, in most cases, making them less than I'd've dared.
If you enjoy viewing these pieces even one 26th as much as we enjoyed making them you'll be grinning for days.
Come, look, enjoy.
Regards,
Dan & Marko
torsdag, mars 15, 2007
here we go round the alphabet bush
From Dan Waber:
As we wave goodbye to the z of the Anaclastic alphabet by Amira Hanafi, it's time to wave hello to the a of Marko Niemi's Pietist Compositions.
New series begins today at:
http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/
Regards,
Dan
Submissions of artworks based around the complete sequence of the roman alphabet which can be presented a letter at a time over the course of 26 days are invited.
As we wave goodbye to the z of the Anaclastic alphabet by Amira Hanafi, it's time to wave hello to the a of Marko Niemi's Pietist Compositions.
New series begins today at:
http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/
Regards,
Dan
Submissions of artworks based around the complete sequence of the roman alphabet which can be presented a letter at a time over the course of 26 days are invited.
tisdag, mars 13, 2007
digipo classics
I'm very pleased to announce this: First Screening, a collection of computer poems from the 1980s by Canadian poet bpNichol, originally written in BASIC programming language for Apple II computers, is now available online @ Jim Andrews' vispo.com site (with essays by Jim, Geof Huth, Lionel Kearns and Dan Waber) & Nokturno (a somewhat smaller selection of poems in Finnish).
* * *
FIRST SCREENING (1984)
Computer Poems
by bpNichol
http://vispo.com/bp
In 1983 and 1984, bpNichol used an Apple IIe computer and the Apple BASIC programming language to create First Screening, a suite of a dozen programmed, kinetic poems. He distributed First Screening through Underwhich, an imprint he started in 1979 with a small group of poets. The Underwhich edition of First Screening consisted of 100 numbered and signed copies distributed on 5.25" floppies along with printed matter.
However, the Apple IIe soon became obsolete and the poems became essentially inaccessible. But in 1992, four years after the death of bpNichol, J. B. Hohm, a student at the University of Calgary in Alberta, Canada, began creating a HyperCard version of First Screening with the approval of Ellie Nichol, bp’s widow, and with assistance from Dennis Johnson and Fred Wah. In 1993, Red Deer College Press published this version on a 3.5" floppy disk for the Macintosh computer.
This HyperCard version of First Screening was a careful re-creation and recoding of the original, and it extended the life of the poems of First Screening a few more years. Still, HyperCard eventually died, leaving the poems unavailable to all but the few who owned a functioning old Mac or an even older Apple IIe and a readable diskette (unlikely, since the usual lifetime of a diskette is approximately five years). In 2004, Apple stopped selling HyperCard, and OSX’s Classic mode was the last Mac operating system on which it was possible to view HyperCard works.
So we are very happy to present to you four different versions of First Screening.
1. The original DSK file of the Underwhich edition with a freely downloadable Apple IIe emulator (available for PCs and (maybe) Macs), along with scanned images of the printed matter distributed with the Underwhich edition. This version is closest to the original.
2. An online JavaScript version of First Screening created by Marko Niemi and Jim Andrews.
3. A streaming Quicktime movie of the emulated version.
4. The original HyperCard version, which may, perhaps, become easier to view in the future via a HyperCard Player emulator or some other means. We’ve also posted scans of the printed matter of this version.
This project has taken us almost three years. We’ve learned much about bpNichol’s First Screening and how the destiny of digital writing usually remains the responsibility of the digital writers themselves. As a group and individually. This project illustrates that work can indeed survive the obsolescence of technologies if others are still interested in the work and the artist has provided what is required to implement the work using later technologies. bpNichol originally created 100 copies of First Screening and distributed them widely, which was important to the propagation of the bitstream. Fortunately, the source code was relatively easy to extract and fairly simple to understand. First Screening is some of the earliest programmed, kinetic poetry. This historical significance, together with the
quality of the work itself and bpNichol’s literary stature (he was awarded Canada’s highest literary honour in 1970), have also motivated us to complete this project.
The recovery started in 2004 when Lionel Kearns showed Jim Andrews the HyperCard version on an old Mac. Lionel also had three 5.25" floppy disks bpNichol had given him. Jim took those floppies to Information Services at the University of Victoria, Canada, where Jeff Rivett, a data analyst, recovered the data using his own functioning Apple IIe at home.
That version of First Screening turned out to be incomplete; Barrie Nichol must have given Lionel these disks while still writing the piece. Geof recognized that the disk was missing some of the poems in the published version and that Lionel’s disk presented the remaining poems in a different order. In an attempt to preserve these poems, Geof had stored his 5.25" floppy of the Underwhich edition carefully, made a silent videotape of the poems as they played on the Apple IIe, and printed out the source code. He could no longer view his floppy, since he no longer had an Apple II series computer, but the printout and the video indicated that three poems were missing from Lionel’s draft copy: “Reverie,” “Any of Your Lip,” and “Off-Screen Romance,” along with some initial and final bibliographic matter.
Following unsuccessful efforts by the University of Albany to recover the data from Geof’s 5.25" floppy of the Underwhich edition, Geof shipped the floppy from New York to Dan Waber and Jason Pimble in Pennsylvania. Dan and Jason were able to recover the full version from Geof’s 22-year-old floppy using a functioning Apple IIe computer and a range of open source software.
O ye digital poets: the past of the art is in your hands and it is you who must recover and maintain it. Although the history of digital archiving is more than two decades old, most professional archivists have little interest or training in the process of preserving and ensuring functional access to digital materials. For instance, although bpNichol’s work is archived at Simon Fraser University in Vancouver, no one there had or could copy the data from the Underwhich edition floppy to contemporary media. They were not uninterested, however, and many thanks to Tony Power for trying.
The secret to this project has been a combination of passion and knowledge. None of us understood the entirety of the situation facing us at the outset. Each of us brought a different set of skills to the task, and all of us brought our love of Nichol’s work and our desire to make sure that others could once again see these early digital poems. We hope our efforts prove worth it for those who visit http://vispo.com/bp now and into the future.
Jim Andrews
Geof Huth
Lionel Kearns
Marko Niemi
Dan Waber
* * *
FIRST SCREENING (1984)
Computer Poems
by bpNichol
http://vispo.com/bp
In 1983 and 1984, bpNichol used an Apple IIe computer and the Apple BASIC programming language to create First Screening, a suite of a dozen programmed, kinetic poems. He distributed First Screening through Underwhich, an imprint he started in 1979 with a small group of poets. The Underwhich edition of First Screening consisted of 100 numbered and signed copies distributed on 5.25" floppies along with printed matter.
However, the Apple IIe soon became obsolete and the poems became essentially inaccessible. But in 1992, four years after the death of bpNichol, J. B. Hohm, a student at the University of Calgary in Alberta, Canada, began creating a HyperCard version of First Screening with the approval of Ellie Nichol, bp’s widow, and with assistance from Dennis Johnson and Fred Wah. In 1993, Red Deer College Press published this version on a 3.5" floppy disk for the Macintosh computer.
This HyperCard version of First Screening was a careful re-creation and recoding of the original, and it extended the life of the poems of First Screening a few more years. Still, HyperCard eventually died, leaving the poems unavailable to all but the few who owned a functioning old Mac or an even older Apple IIe and a readable diskette (unlikely, since the usual lifetime of a diskette is approximately five years). In 2004, Apple stopped selling HyperCard, and OSX’s Classic mode was the last Mac operating system on which it was possible to view HyperCard works.
So we are very happy to present to you four different versions of First Screening.
1. The original DSK file of the Underwhich edition with a freely downloadable Apple IIe emulator (available for PCs and (maybe) Macs), along with scanned images of the printed matter distributed with the Underwhich edition. This version is closest to the original.
2. An online JavaScript version of First Screening created by Marko Niemi and Jim Andrews.
3. A streaming Quicktime movie of the emulated version.
4. The original HyperCard version, which may, perhaps, become easier to view in the future via a HyperCard Player emulator or some other means. We’ve also posted scans of the printed matter of this version.
This project has taken us almost three years. We’ve learned much about bpNichol’s First Screening and how the destiny of digital writing usually remains the responsibility of the digital writers themselves. As a group and individually. This project illustrates that work can indeed survive the obsolescence of technologies if others are still interested in the work and the artist has provided what is required to implement the work using later technologies. bpNichol originally created 100 copies of First Screening and distributed them widely, which was important to the propagation of the bitstream. Fortunately, the source code was relatively easy to extract and fairly simple to understand. First Screening is some of the earliest programmed, kinetic poetry. This historical significance, together with the
quality of the work itself and bpNichol’s literary stature (he was awarded Canada’s highest literary honour in 1970), have also motivated us to complete this project.
The recovery started in 2004 when Lionel Kearns showed Jim Andrews the HyperCard version on an old Mac. Lionel also had three 5.25" floppy disks bpNichol had given him. Jim took those floppies to Information Services at the University of Victoria, Canada, where Jeff Rivett, a data analyst, recovered the data using his own functioning Apple IIe at home.
That version of First Screening turned out to be incomplete; Barrie Nichol must have given Lionel these disks while still writing the piece. Geof recognized that the disk was missing some of the poems in the published version and that Lionel’s disk presented the remaining poems in a different order. In an attempt to preserve these poems, Geof had stored his 5.25" floppy of the Underwhich edition carefully, made a silent videotape of the poems as they played on the Apple IIe, and printed out the source code. He could no longer view his floppy, since he no longer had an Apple II series computer, but the printout and the video indicated that three poems were missing from Lionel’s draft copy: “Reverie,” “Any of Your Lip,” and “Off-Screen Romance,” along with some initial and final bibliographic matter.
Following unsuccessful efforts by the University of Albany to recover the data from Geof’s 5.25" floppy of the Underwhich edition, Geof shipped the floppy from New York to Dan Waber and Jason Pimble in Pennsylvania. Dan and Jason were able to recover the full version from Geof’s 22-year-old floppy using a functioning Apple IIe computer and a range of open source software.
O ye digital poets: the past of the art is in your hands and it is you who must recover and maintain it. Although the history of digital archiving is more than two decades old, most professional archivists have little interest or training in the process of preserving and ensuring functional access to digital materials. For instance, although bpNichol’s work is archived at Simon Fraser University in Vancouver, no one there had or could copy the data from the Underwhich edition floppy to contemporary media. They were not uninterested, however, and many thanks to Tony Power for trying.
The secret to this project has been a combination of passion and knowledge. None of us understood the entirety of the situation facing us at the outset. Each of us brought a different set of skills to the task, and all of us brought our love of Nichol’s work and our desire to make sure that others could once again see these early digital poems. We hope our efforts prove worth it for those who visit http://vispo.com/bp now and into the future.
Jim Andrews
Geof Huth
Lionel Kearns
Marko Niemi
Dan Waber
fredag, mars 02, 2007
visual poets
> From: Dan Waber
It's alive.
http://www.vispoets.com/
If it seems a little quiet in there, that's because you're not saying anything, yet. Consider this your invitation to do so.
It's a gallery, it's a directory, it's a group of forums, it's an aggregator. It's able to grow organically as needs develop.
Please spread the word as far and wide as you're willing and able.
Features too numerous to list. Short version for those of you who haven't already clicked and started poking around on your own:
--online gallery space for visual poets
free, easy, automagical in many ways (teachers, looking for a good place to find a wide range of visual poetry?)
--web-based discussion forums that support attachments
Any special visual poetry interest not being served by their own forum can have one made for them very easily. Low-fi version available for those on dial-up who just really want the text and nothing else.
--calendar of visual poetry events
Currently one general calendar, but it's a trivial matter to add other calendars as needed. What do you want/need?
--social networking bells and whistles
Friends, mutual friends, private messaging, alerts when threads you're in are updated, you name it. Did you know yesterday was David-Baptiste Chirot's birthday?
--RSS aggregation w/ community commenting
Through the magic of modern technology, the board updates as RSS-enabled visual poetry related blogs are updated. If you think the visitors to vispoets.com would be interested in your RSS feed, say the word and we'll get it added.
Yes, you have to register to make posts (but not to read them).
Yes, the forums are moderated.
Thank you to all the alpha and beta testers who've been bumping into things and trying to break things.
Extra special thank you to Karl Kempton for impetus, Klaus Peter Dencker for guidance, and Marko Niemi for letting me sucker him into assisting with the admin responsibilities.
Enjoy,
Dan
It's alive.
http://www.vispoets.com/
If it seems a little quiet in there, that's because you're not saying anything, yet. Consider this your invitation to do so.
It's a gallery, it's a directory, it's a group of forums, it's an aggregator. It's able to grow organically as needs develop.
Please spread the word as far and wide as you're willing and able.
Features too numerous to list. Short version for those of you who haven't already clicked and started poking around on your own:
--online gallery space for visual poets
free, easy, automagical in many ways (teachers, looking for a good place to find a wide range of visual poetry?)
--web-based discussion forums that support attachments
Any special visual poetry interest not being served by their own forum can have one made for them very easily. Low-fi version available for those on dial-up who just really want the text and nothing else.
--calendar of visual poetry events
Currently one general calendar, but it's a trivial matter to add other calendars as needed. What do you want/need?
--social networking bells and whistles
Friends, mutual friends, private messaging, alerts when threads you're in are updated, you name it. Did you know yesterday was David-Baptiste Chirot's birthday?
--RSS aggregation w/ community commenting
Through the magic of modern technology, the board updates as RSS-enabled visual poetry related blogs are updated. If you think the visitors to vispoets.com would be interested in your RSS feed, say the word and we'll get it added.
Yes, you have to register to make posts (but not to read them).
Yes, the forums are moderated.
Thank you to all the alpha and beta testers who've been bumping into things and trying to break things.
Extra special thank you to Karl Kempton for impetus, Klaus Peter Dencker for guidance, and Marko Niemi for letting me sucker him into assisting with the admin responsibilities.
Enjoy,
Dan
måndag, januari 15, 2007
unlikely
The Cross-Media Issue of Unlikely 2.0, guest-edited by Dan Waber, has gone live & contains work by mIEKAL aND & Lyx Ish, Jim Andrews, The Be Blank Consort, Tantra Bensko, Christian Bök, Mairéad Byrne, Holly Crawford, Barbara DeCesare, Martha L. Deed, Dulabomber, Paul Dutton, Amanda Earl, endwar, Vernon Frazer, Michael Harold, Sharon Harris, Pete Hindle, Geof Huth, Adeena Karasick, Karl Kempton, Márton Koppány, Donna Kuhn, Janan Leikazu, Kaz Maslanka, Sean McCluskey, Gil McElroy, Marko Niemi, Rupert Owen and Snuffbox Films, W. Bradford Paley, Alan Semerdjian, Spiel, Nico Vassilakis, Ted Warnell, and Derek White.
måndag, oktober 09, 2006
tisdag, oktober 03, 2006
call for submissions
>From Jonathan Penton & Dan Waber:
We at www.UnlikelyStories.org would like to observe:
1. All creativity comes from the same stream. The distinctions between visual art, literature, music, film, performance art, and technologically-assisted art are artificial.
2. Although these distinctions are artificial, they are often practical. It is extremely expensive to bind many pieces of visual art in a book, and often greatly reduces the emotional impact of such works. It is rarely convenient to view the original manuscript of a well-loved novel.
3. Although some practical distinctions are still valid, recent technological changes have greatly reduced their necessity. With the advent of consumer-level laser printers, visual art can be reproduced much less expensively. Similar technologies have reduced the cost of short printing runs. The television, the VCR, and most importantly the Internet, have allowed for vastly greater distribution of artworks of all types. Although problems of finance and location are still acute, the opportunities to distribute a wide variety of artistic works to a larger audience are greatly increased.
4. Unfortunately, the mindset of artists, and to a lesser degree art appreciators, has not caught up with these changes. We still see a photographer as different from a painter and a filmmaker as different from a poet to a degree which is not justified by the differing technical skills. Worse, photography is considered inherently different from painting, and poetry inherently different from film, despite the fact that all four are often given quite similar electronic treatments to enhance their presentation, especially on the Internet.
We at www.UnlikelyStories.org will proudly present our Cross-Media Issue in the hopes of working to alter these prejudices in both our own minds and the culture. Under the guiding vision of experimental artist and guest editor Dan Waber, we are looking to publish creative works which push the boundaries of not simply genre, but medium. We are looking for works that destroy the boundaries between poetry and visual art, between music and essay, between storytelling and programming. We are looking to dance about literature.
We are especially interested in works which would not be possible without the World Wide Web, or that otherwise are designed to specifically take advantage of the medium in which they will be presented. We are looking for essays and reviews of any cross-media work, as well as essays that explore current changes in art as our technology and culture change. We are looking for experiments – music videography and prose poetry are too well established to be considered cross-media, unless, of course, you've painted a music video or photographed a prose poem.
The bulk of this issue will remain at www.UnlikelyStories.org in perpetuity, although large files might be taken down after one year. It should be noted that cross-media works are also accepted in regular issues of Unlikely 2.0, though the considerations for acceptance are drastically different. Please see http://www.unlikelystories.org/mission.shtml for our Mission Statement, and the guidelines that pertain to unthemed issues.
Considerations for interested artists:
1. Please take the time to check out www.UnlikelyStories.org and see what we normally do at Unlikely 2.0.
2. Please send your work, or links to your work, directly to Dan Waber at unlikelystories(at)gmail.com. Submissions must be received by Friday, December 22, 2006. The issue should go live in mid-January.
3. Please assume that all work will be viewed in Internet Explorer or Firefox at 1024x768 pixels. The sidebars that normally exist on Unlikely 2.0 will be removed when appropriate.
4. Please create works that can be reasonably viewed by users running Windows 2000 on a Pentium III, Windows XP on a Pentium 4, or Mac OS 8.x. Movie formats that are viewable on the Web are unfortunately harder on computers than are DVDs. Realistically, a movie file shouldn't be larger than 400x300 pixels, and an animated file shouldn't be larger than 600x400 pixels.
5. Previously published works are accepted, with appropriate notation. Simultaneously submitted materials are not appropriate for this issue.
Dan Waber's bio is being constantly updated by the search engine of your choice. Please enter: "dan waber" into the search box to begin.
www.UnlikelyStories.org
We at www.UnlikelyStories.org would like to observe:
1. All creativity comes from the same stream. The distinctions between visual art, literature, music, film, performance art, and technologically-assisted art are artificial.
2. Although these distinctions are artificial, they are often practical. It is extremely expensive to bind many pieces of visual art in a book, and often greatly reduces the emotional impact of such works. It is rarely convenient to view the original manuscript of a well-loved novel.
3. Although some practical distinctions are still valid, recent technological changes have greatly reduced their necessity. With the advent of consumer-level laser printers, visual art can be reproduced much less expensively. Similar technologies have reduced the cost of short printing runs. The television, the VCR, and most importantly the Internet, have allowed for vastly greater distribution of artworks of all types. Although problems of finance and location are still acute, the opportunities to distribute a wide variety of artistic works to a larger audience are greatly increased.
4. Unfortunately, the mindset of artists, and to a lesser degree art appreciators, has not caught up with these changes. We still see a photographer as different from a painter and a filmmaker as different from a poet to a degree which is not justified by the differing technical skills. Worse, photography is considered inherently different from painting, and poetry inherently different from film, despite the fact that all four are often given quite similar electronic treatments to enhance their presentation, especially on the Internet.
We at www.UnlikelyStories.org will proudly present our Cross-Media Issue in the hopes of working to alter these prejudices in both our own minds and the culture. Under the guiding vision of experimental artist and guest editor Dan Waber, we are looking to publish creative works which push the boundaries of not simply genre, but medium. We are looking for works that destroy the boundaries between poetry and visual art, between music and essay, between storytelling and programming. We are looking to dance about literature.
We are especially interested in works which would not be possible without the World Wide Web, or that otherwise are designed to specifically take advantage of the medium in which they will be presented. We are looking for essays and reviews of any cross-media work, as well as essays that explore current changes in art as our technology and culture change. We are looking for experiments – music videography and prose poetry are too well established to be considered cross-media, unless, of course, you've painted a music video or photographed a prose poem.
The bulk of this issue will remain at www.UnlikelyStories.org in perpetuity, although large files might be taken down after one year. It should be noted that cross-media works are also accepted in regular issues of Unlikely 2.0, though the considerations for acceptance are drastically different. Please see http://www.unlikelystories.org/mission.shtml for our Mission Statement, and the guidelines that pertain to unthemed issues.
Considerations for interested artists:
1. Please take the time to check out www.UnlikelyStories.org and see what we normally do at Unlikely 2.0.
2. Please send your work, or links to your work, directly to Dan Waber at unlikelystories(at)gmail.com. Submissions must be received by Friday, December 22, 2006. The issue should go live in mid-January.
3. Please assume that all work will be viewed in Internet Explorer or Firefox at 1024x768 pixels. The sidebars that normally exist on Unlikely 2.0 will be removed when appropriate.
4. Please create works that can be reasonably viewed by users running Windows 2000 on a Pentium III, Windows XP on a Pentium 4, or Mac OS 8.x. Movie formats that are viewable on the Web are unfortunately harder on computers than are DVDs. Realistically, a movie file shouldn't be larger than 400x300 pixels, and an animated file shouldn't be larger than 600x400 pixels.
5. Previously published works are accepted, with appropriate notation. Simultaneously submitted materials are not appropriate for this issue.
Dan Waber's bio is being constantly updated by the search engine of your choice. Please enter: "dan waber" into the search box to begin.
www.UnlikelyStories.org
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